International Artists Promotion Group

THE EXHIBITOR OF THE SALON “ART EN CAPITAL” 2012 – 2014A thin, barely discernible line at first moving timidly across the canvas, adjusting and refining, then stretches, gaining full strength, filling up with color, clinging to the very edge of the stretcher, and finally, turns into the horizon. The horizon, which is linearly hard and clear, is one of the principal characters in my paintings. The horizon of the table, the horizon of the room, the horizon of the landscape, very low, very high, defines the boundaries of the characters’ actions, sometimes sparingly giving them limited areas of freedom, other times generously sending them into a space without boundaries.

The horizon, cutting through flat space, pretending to be the edge of the painted screen, behind which it is impossible to see, and which is unable to be moved. The obstinate horizon reserves the right to disappear from the canvas and descend into observing the movement of the painting’s color masses, forcing even the author himself to believe in its necessity and invincibility.

Andrey Shustov for the readers of the ”Russian Art & Paris”.

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In the modern era of polystylism in art, it is very difficult to not get lost and actually become a prominent figure with your own artistic world, one which is interesting for lovers of fine art. Learning from the experience of predecessors and mastering the grammar of a particular painting style does not guarantee success. This can only be the foundation. Pushing from it, building your own visual row, your own world of feelings, everyone has to go his own way, trusting intuition and striving hard for a self-sufficient sense of identity. Some painters follow the path of observation and reflecting upon the real world, and others through meditation and transformation of natural forms.

An artist who seeks his own intonation in the synthesis of the concrete and the imagined, is Andrew Shustov. His search for a new visual language, is an exploration into the color possibilities of painting. This search relies on the French school of painting of the late 19th – early 20th centuries, and their followers on Russian soil. This is possibly where the artist’s interest towards still life come from. The plotless painting, like a fragment of the reflection of the real world, becoming more popular among artists at the beginning of the 20th century, opens great possibilities of interpreting nature. Moving the object as close as possible, focusing on its integrity and materiality, the artist puts it on the canvas close-up, separating it from the surrounding reality. The two-dimensional space of the canvas thus becomes a cluster of artistic matter, a kind of decorative element, consisting of the living rhythm of color patches (“Onion”, “Tea”).

Landscape, once playing a minor role, has become a separate genre since the 17th century. Its rise came into the 19th century. At this time, it rose to the importance of an “eternal theme.” In modern art, its position remains unchanged. A huge variety of existing forms of the material world, movement, and internal connections of a single natural matrix are the creative impulse for the individual reading of the topic. In this traditional genre, many contemporary artists continue to work productively, including Andrew Shustov who prefers the urban landscape. The effect of his paintings are based mainly on the contrast between a few key local areas of color and additional harmonic color series. Such works are fragments of the real world, transformed by the author’s imagination into a planar-decorative composition, with a strong color intensity and dynamic rhythms, which has lots of sunlight. In the urban landscape, the architecture itself, with its geometric shapes having clear contours, suggests a corresponding decision – the organization of space within the composition in the style of stained glass art with a strong facet of colorful spots (“Last Year’s Sun”, “Bay”, “Girona”, “Heat”).

The art of Andrew Shustov is also attractive due to the fact that he is a color-minded artist. Every element of his paintings is not accidental, but occurs according to the logic of a special reflection of reality, both the present one, and the one that is born within him. Figurative paintings are the fruit of the painter’s imagination, of his artistic fantasies coupled with the clear presence of irony and a tendency for oxymoron (“Antediluvian Childhood”). The author’s confident tone captivates the viewer and easily leads to the world invented by the artist. This world is populated by touching, funny, naive and charming characters, in some ways similar to us, made specifically with simplified forms – bearded men, women, centaurs, creatures with wings, as well as birds and fish … The eccentric figures are static images, and their condition and mood is determined by the gesture, posture, the turning of the head (“Bathing in the hole”, “Rubicon”).

The core of his painting is color. Here is what the artist says about this: “The painting is a spot. The painting is a repository of large patches of color, sometimes breaking up into a mosaic, and other times gathering from the pieces of a stained glass window. The spots have a strict hierarchy. The main color of the fragment is surrounded by supporting, reinforcing, sagging, blurry boundaries, that do not let it break into a scream. Color, like the pianist in a silent movie, sculpts the emotional content of a painting. The plot is often just an excuse, subtitles, or tickers, which are sometimes unread …”

There is another important element in his works – the horizon, as a spatial coordinate. “The horizon, which is linearly hard and clear, is one of the main characters in my paintings. The horizon of the table, the horizon of the room, the horizon of the landscape, low or high, defines the boundaries of the characters’ actions.” The location of this line can change the author’s tone to influence the emotional timbre of the sound of the canvas.

Invented by the artist, the “color world, whose walls are no thicker than a primed canvas” is warm, clear, fragile and enigmatic. Meeting with its inhabitants is fascinating. Their actions, though strange at first glance, may cause a smile, compassion, and may give food for thought and open within them new hidden meanings, in tune with our times. Sometimes the very name of the painting pushes us towards this (“Oknograf”, “Green Tree”). Each painting of Andrew Shustov is a small fragment of his special artistic feeling, absorbing the entire kaleidoscope of life experience, reasoning, imagination and fantasy, imprinted in a variety of fleeting forms and views. Together, they form a picturesque artist’s universe. And each of them, “continues until the corner of the canvas receives the signature of someone who is so similar to brightly dressed men with beards.”

by Marina Abramova, art critic,

member of the Union of Artists of the Russian Federation.

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“Onion”Oil on Canvas. (50 x 80 cm)

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“…the glance towards objects, as a source of information revealing color harmony and rhythmical conflicts, is about the meaning and fate of the material world. All of this is skillfully assembled by artist Andrey Shustov into a short story by the name of “still life”. A story which is calm in form, yet extremely intense and vivid emotionally.”

Catherine Costes, columnist of the “Luxe Immo” magazine.

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Andrey Shustov was born in 1963, lives and works in Naberezhnye Chelny. He graduated from the Art-Graphic Department of Yelabuga State Pedagogical Institute (1989, with honors). Numerous meetings with the artist Yuri Larin (Larin Yuri Nikolayevich, 1936 b., painter, Moscow) significantly influenced Andrey Shustov’s artistic work, shaping a new understanding and approach to painting.

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EXHIBITIONS

Painting by Andrey Shustov in the exhibition hall of the Salon “Art en Capital” 2014. (Paris)

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Painting by Andrey Shustov in the exhibition hall of the Salon “Art en Capital” 2012. (Paris)

I remember as a student, I just could not get the form of the model in drawing. Erasing the paper until holes appeared, I could not achieve integrity. The details were too distinguished and persistently jumped in foreground.

Soon a new drawing teacher came to us, a young artist by the name of Levan Tsutskiridze, who watching my torment, laughed, came up to me, and with a few lines completed the drawing. I looked at him in astonishment and exclaimed: “It’s that simple? Just two minutes?”

Over the years, as I accumulated comprehensive experience in the work, I always remember with a quiet smile my naive conclusion: “How it is simple!”

Givi Siproshvili for the readers of the ”Russian Art & Paris”.

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.“Always wanted to show the character and state of the soul”

Interview of the artist Givi Siproshvili for the “Russian Art & Paris” journal.

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RA&P: – Givi Iraklievich, the twentieth century has already become history. What is most memorable for you?

Givi Siproshvili: – Looking back, it seems to me that the worst event was the fall of the Soviet Union. On the other hand, countries received their independence, and people their freedom. This includes the freedom to move around the world, and the happiness of developing an identity. This is wonderful!

RA&P: – Will the artists of the twentieth century influence the development of visual art in the future?

Givi Siproshvili: – In my opinion, not only old classical masters influence the formation of the relations with art. Artists such as Picasso, Dali, Malevich, Kandinsky, and Chagall will remain in demand in the future. I think that in modern day Russia, there are many outstanding artists, who will in the near future attain a worthy place in the world stage.

RA&P: – You have created colorful and memorable imagery. Is it possible to view your creative work as a continuation of the traditions of Bosch and Bruegel?

Givi Siproshvili: – To be honest, I always wanted my works to show the character and state of the human soul; this is probably where the influence of old masters on my work is visible. Many of my characters are fictitious, but arise from everyday observations in life, from live sketches.

RA&P: – You have many works of the portrait genre. Which would you like to note?

Givi Siproshvili: – I received greater joy from the portrait “Einstein”. I believe that in this work, I was able to convey a sense of purpose, energy, and the freedom of thought of a scientist, qualities which would help him make many discoveries. Of my recent works, in my opinion, interest arises towards the work named “New Neighbor”. This painting depicts the personality of the character and the relationship between two neighbors. Similarly, I have a dream to paint a portrait of the great Georgian singer Nani Bregvadze, but this dream still remains a dream.

RA&P: – Have their been failures in your long artistic career? And, to the contrary, which works do you consider the most meaningful?

Givi Siproshvili: – Life had rises as well as falls. One of these falls occurred when most of my completed works were stolen, around seventy paintings prepared for an exhibition. The crisis lasted for almost ten years, my paintbrushes had a good rest. But afterwards, little by little, everything returned to normal. Among the most interesting of my works, I consider the painting “Trinity”.

RA&P: – There are many female faces on your canvases. Which women attract you in life?

On June 25, 2012 by internet from Georgia.
Copyright by Russian Art & Paris.

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ON EARTH AND IN HEAVEN
Why has it long been assumed that Russians and Georgians have much in common? These days, when relations between Russia and Georgia are minimal, Georgia lives in the heart of even those who have never been there. At fault here are the artists and the “deep and burning passion of a northerner for the south” as art critic and artist Alexander Benois wrote in the early 20th century. Artists never have easy fates, and the year of Givi Iraklievich Siproshvili’s birth – 1940, speaks for itself. In his seventies, the artist had to move to Russia, and not from any attraction towards moving. Growing up on the warm, bright, and gently land of Georgia, the artist does not separate himself from its culture, he is part of it; part of it in both past and present, he professes her moral laws, the high degree of his national temperament does not diminish with age.
• In view of sad circumstances, there are almost no works of his from the 70’s through 90’s, but a review of his works from the 2000’s gives a vivid understanding of the creative and life restlessness, his constant search for ways of beauty and truth. This is the search of a wise man and mature master. In no sense is he associated with the speculative and hasty search of his own “I”. In the creative way of this artist, one can feel the Eastern self-sufficiency of a person of an ancient culture.
• The earliest of his works – “Spring. Schoolgirl”, “Clown”, and “Echo” have varying pictorial and stylistic manners. They can contingently be called the starting points of several artistic cycles. Despite the difference in objectives, these works are united by the interaction of space and shape. The space of the artist’s painting is always tense, saturated; seems that as if by itself, it sculpts or carves the image. The space of the picture is formative, within it are new and unknown possibilities of representationalism, potential existences of shape, and the seed of its development.
• The artist’s palette can be as exceptionally colorful (“First Kiss”) as ascetically-restrained (“Veteran”, “Refugees of Abkhazia”). In these works, the theme of which is painfully experienced by the artist, the land and the people make up a single whole, a single flesh. The people, leaving or dying, dissolve and remain in it. The pictures Givi Siproshvili contain many details that are connecting threads between the temporal and the eternal, between the past and the future. The painting “When the Call Will Ring” is bitterly poetic and bright, where the transcendental world is attractive and luminous. Yet keeping its soul, the earthly sprout is even more brightly luminous. “Pirosmani’s Death” is inherently as much of a self-portrait as the “Self-Portrait. Hunting”, as if they are both fashioned from a single colorful dough. Self-portrait is also quietly present in purely formal solutions, such as “Melancholy”. With that said, the distant past, the real world, and the imaginary world permeate the artist’s soul, and become its imprint on the canvas.
• The technical side of the works of Givi Siproshvili is astonishing due to its wide diversity: somewhere it’s a large colorful plane, laid out with a palette knife (“Night Butterflies”), somewhere it’s a malleable, ductile smear, simulating the shape (“Evening Bells”). In some works there is a hard granular texture with colorful backings, embossing, scratching; it becomes precious and requires just a fine touch of a paintbrush for the birth of an image (“Rest,” “Roses”). Many techniques are the unique invention of the artist: “Kakhetian”, “Doctor and Patient”, “Two”. The artist’s work with texture gives his paintings a unique preciousness.
• No matter how interesting the techniques may be, neither they nor the craftiness makes the paintings of the artist Givi Siproshvili a striking phenomenon in visual arts. In his works – philosophical parables, live landscapes, fantasies, and still life – there is an idea, a soul, a broad emotional palette, and most importantly, love, without which the secret of art cannot be born.

by Irina Protopopova, art critic,
member of the Union of Artists of the Russian Federation.

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“Einstein”Oil on Canvas. (50 x 50 cm)

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Siproshvili Givi Iraklievich, a painter and graphic artist, was born in 1940 in Georgia. In 1971 he graduated from Tbilisi Academy of Fine Arts with a degree in painting. His teachers at the Academy of Fine Arts were well known artists as such Kornelli Sanadze, Koki Makharadze, Lapiashvili, Ucha Japaridze. Since 1974, he has been a member of the Union of Artists of the USSR and Georgia. Since 2000, he has been a member of International Federation of Artists (UNESCO).
In 2009 he received the “Talent and Vocation” award from the international alliance “Peacemaker” in the field of culture and of art. In 2009, he was recognized as an honorary citizen of the town of Forte dei Marmi in Italy, where he represented Russian art at the festival of Russian art and film “Maestro”, and was awarded a medal by the mayor.

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EXHIBITIONS

Painting by Givi Siproshvili in the exhibition hall of the Salon “Art Capital” 2015. (Paris)

The workshop of the artist Rinat Sharafutdinov is located in the heart of the Magnitogorsk town. Within it is bright, quiet, and comfortable, with a pleasant smell of paint. There are books about his favorite artists on the shelves, and neatly stored canvases on the mezzanine.Everything here predisposes a person to serious thoughtful work, which does not tolerate haste and disorder, external as well as internal. In a small industrial town in the Urals, located on the border between Europe and Asia, away from prying eyes and amidst silence, the art of Rinat Sharafutdinov was born. Federico Fellini once made a remarkable assertion that “true geniuses can only arise from provinces since the lack of impressions during childhood forces people to compensate for it with their imagination, and the greed of perception becomes hypertrophied in size”… I hope that the readers of online journal “Russian Art & Paris” will be interested in getting acquainted with the works of an artist from Russia’s heartland. A new attitude, appropriate for our time, in which the territories of different cultures, civilizations, and religions are common to all of mankind, allows for the expansion of the horizons of art space. By enriching his own creative possibilities, any talented artist within this space can bring new life and contents, corresponding to his internal “I”, into old traditions. Rinat Sharafutdinov, with an inimitable individual style, is such an artist.

Marina Abramova

June 12, 2012

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Rinat Sharafutdinov is a colorful and extraordinary artist. Though he was educated in the monumental genre, he has fruitful work in the classical genres of landscape, portrait, and still life. Knowing well the “grammar” of his profession, he concentrates his creative research on the “architectonics” of painting. The rational, clearly thought out, scenic system of an artist is not just an “intellectual game.” It is a search for harmony, of both color and structure. In his compositions, everything is thought through: expressiveness of lines, forms, appropriateness of rhythmic repetitions, balance, organization of space through color, interaction of all the painting elements as a single and self- sufficient organism. On every specific canvas, the presence of a genuine poetic tone can be felt. Amidst this tone, the artist possesses a special natural feeling of decoration.
• As one of the forms of understanding the surrounding world, the art of Rinat Sharafutdinov suggests not so much the reflection of visual interest, as the desire to escape from the everyday mundane standard to see color and shape as an absolute aesthetic category.
• Landscape compositions with a clear decorative attitude are subject to a special logic of constructing space. Much attention is paid to the expressiveness of the silhouette, the interaction of color and shape, planarity, and volume. Textured and energized painting of the foreground is often balanced by the straight line of the horizon. An artist’s glance is capable of a complex panoramic vision. The small figures of people, at first glance, are of secondary importance, however their presence creates a “pastoral corner” of tranquility among the commotion of color, forming live moving simplified volumes. The chromaticity of the palette reaches the limit of sensation, turning into a celebration of red, blue, or green. When compositions are made with a single soloing color, painting begins to tangibly sound. The viewer’s imagination is activated, engaging in some magical supersensible reality where there is no concept of time.
• In works on the eternal theme of the relationship between man and woman, color is brought to the highest level of richness and emotional tension. It becomes an open structural metaphor and carries with it an important burden: to symbolize passion, love. The form becomes a sign, and the space becomes even more conventional.
• For an artist, it is characteristic to convey a variety of emotional states: from thoughtful and quiet sadness, to frank sensuality and expression. His works are attractive not only for the poetic insight into the essence of the visual world, but also for the painting technique, the complex structure of the paint layer, the variety of “precious” colors (silver, golden, bronze, etc.), mystifyingly shimmering in color and light. In his search an artist does not limit himself to the reflections of the observed. He transforms natures forms, likening them to a symbol-sign, and connects components of the space into a single volume, reaching the utmost clarity in his compositional decisions. The artist’s main creative principle is treating the art form as an ever-changing reality.

Rinat Sharafutdinov was born in the city of Magnitogorsk in 1959. During 1975-1979 he studied at the Art College in the city of Sverdlovsk. In 1987 he graduated from Moscow Art-Industrial College (the former Stroganoff College) where he studied at the department of monumental and decorative art in the studio of professor A.Orlovsky. Rinat was also a student of professor F.Voloshko and professor S.Godyna. Rinat Sharafutdinov has been a member of the Union of Artists of the Russian Federation since 1993.

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EXHIBITIONS

Painting by Rinat Sharafutdinov in the exhibition hall of the Salon “Art Capital” 2015. (Paris)

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Painting by Rinat Sharafutdinov in the exhibition hall of the Salon “Art en Capital” 2012. (Paris)

Out of the many teachers in my life, there was one, who did not satisfy the direct meaning of the word. Nevertheless there are two things, possibly the most important for me, that I heard from him.

First. Your work should look impressive from a distance. Therefore the compositional decision should be clear and precise. The sketch should be made the size of a matchbox. In this size already, the main artistic idea of two-dimensional space should be readable. Second. There are no objects in the painting. The painting has components. A cup and a cup’s shadow are of equal value in the painting. Today, for me, the cup’s shadow has greater meaning than the cup itself.

Alexander Grishkevich for the readers of the ”Russian Art & Paris”.

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Maksimilian Voloshin has poetic comparisons that “artists are the eyes of mankind” and “the artist, first of all, is the musician”. Every artist, as is known, has his own view on the world, and his own music sounds in his heart. Before Alexander Grishkevich is emerging a completely different picture of the world, different from what we are used to, and there is music, which his heart responds to. The artist is realizing these feelings in the picturesque compositions. He is transforming the real objects into the ideal ones. Before us emerges an image of the Other World, which often differs strikingly from the familiar one. These images are the product of another self-consciousness, other impressions and other perceptions. And consequently the aim of the viewer consists in understanding this “otherness”. For the purpose of coming closer in any measure to comprehending his attitude, it is necessary to understand how he realizes space and time, the real world and the invented world, and at last, his own person. Even the most varied aspects of the artistic picture of the world, are ultimately directly or indirectly interconnected. In the achievement of such synthesis, I believe there is a hidden goal that an artist sets for himself. It is a leitmotif of his figurative-art approach. This approach is not always distinctly realized or clearly formulated by him. Sometimes it remains like an unattainable horizon, which the artist aspires to. However, he always leaves us a reference point, which although not always clear, is helpful in reaching the path of understanding.
• Alexander Grishkevich is realizing, that he cannot accurately depict even part of a world which has passed. This “depicting” is inevitably fraught with inevitably fraught with distortions and modernization. Therefore in his works, everything is sufficiently concrete and clearly expressed. The artist builds his ideal world on the basis of real visual impressions. This world is sterile and clean; its forms, light and color relations are precise and verified. There is no place for accident and chaos. Everything is subordinated to the author’s logic and harmony. In this ideal world there is no place for the human being, he is not the participant of an event, he is only the observer. In spite of its reality, this world is fantastic by its inherent nature. Within it, by the will of the artist, objects obtain geometrical structure, while remaining natural formations as well.
• In his compositions, although they are painted in a realistic manner, color exists as though by itself. It is self-sufficient at heart and is perceived as an independent reality even though it is limited to a contour of concrete subjects. There are precise color spot borders of subject forms of the picture with various voice-frequency shades where color gets independent sounding. Color has texture and depth, it mysteriously flickers, strengthening the unreality represented. The surface of the picture has expressive qualities, it is the creation of the artist, and simultaneously with color, is the nature of the picture. In each concrete case, color for A.Grishkevich is not simply paint, it is something living with figurative and poetic language, that is capable to express an essence of the artist. He is improvising, grouping color spots, giving these graphic components their forms, which are dictated to him by his imagination and vision. A.Grishkevich’s color forms are firm and constant. There is no display of external dynamics but you can feel the latent pressure by just looking at them. In this connection we can understand that the drawing is very important for him, where both line and contour express his feelings as much as color. Compositions are often repeated, but other color decision makes them different with regards to the figurative and emotional perception. When we are standing in front of his pictures we are free to invent the images, to change the color decision of a picture, and to transform the elements of a composition. In doing so, it becomes our imagination, which may be rather far removed from the artist’s imagination, but nevertheless called forth by his painting.
• The canvas is a space where the artist lives, displaying himself and his world regardless of what he paints. Painting is a live dialogue of the artist with a surface of the canvas, carrying him into another world, into another measure. The basis of the picturesque language for A.Grishkevich is the two-dimensional plane awoken by the color and impressions of a diverse, multifaceted life. He is very rational and strict, not allowing the art statement to be spontaneous or emotionally ingenuous. The picture for him is an exit from three-dimensional space into a two-dimensional one. The feeling of a surface and the feeling of color are the mysterious beginnings, which determine the talent of the painter. The artist transfers himself from life’s macrocosm to the microcosm of the picture on a surface of a canvas. A game of shades, lines, planes, forms, volumes, and texture is inherent to the artist’s painting. This is the goal of his art, though ultimately the main aspiration is to make us better than we are.

by Valery Zhuk, Ph.D. in Art History

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Alexander Grishkevich was born in Molodechno, Republic of Belarus, in 1961. He recieved his professional education in Minsk Art College named after A. Glebov (1981) and the Belarusian State Theatre and Art Institute, now the Belarusian Academy of Arts (1987). The artist trained at the creative academic studios of the USSR Academy of Arts, under the guidance of academician M.Savitsky (1991-1994). Alexander Grishkevich is a member of the Artists’ Union of Belarus (1996)

Since 1984, he has participated in art exhibitions and competitions. The works of artist Alexander Grishkevich are in the National Art Museum of Belarus, the Museum of Modern Art (Minsk, Belarus), the Art Gallery of Svetlogorsk (Belarus), in the Unechskoy Art Gallery (Russia), and in the funds of the Ministry of culture of the Republic of Belarus.

Eugene Yali is an artist both rare and amazing. Rare, even for the richness of talent in Russia. It is difficult to find a name in Russian art that is comparable. An analogy, however, is perhaps easier to find in literature. Probably with same kind of moonlight shimmer, Afanasy Fet surprised his contemporaries: “Light of the night, the night shadows…”. Today this poet is clearly and confidently called a philosopher. Perhaps similar qualities will be associated with the works of Eugene Yali.

Yali is often referred to as a lyrical artist. This is not entirely true. Behind the lyrical plot hides an impressive scale of a central theme: the theme of presence. Here and now. In the state where the mind “sees” the world in the way the world is. The first thing that stands out upon encountering this new painting style is the lack of a picture plane. Within the perimeter of the baguette, one can hear the rustling of the snow crust. The breath of the space is filled with the dampness of the dawn. All of this is the tangible flesh of reality. The aura of Yali’s works is fascinating. To discuss the linear perspective, tone, or color scheme is either inappropriate or impossible. Such categories do not exist in these paintings; what does exist, is a mystery of creation. It is difficult to believe that the foundation of all this, is a shabby box of paint tubes.

The development of movement, its transfer within the two-dimensional space of a canvas, is astonishing. This task, which has almost disappeared from the perspective of contemporary art, comes easily and naturally in the works of Yali. Like something obvious and long familiar, the flying of magpies; seemingly nothing special: they fly in nature and they fly in the painting. In works of other artists, however, they did not fly; but in Yali’s works they flew. This befits a master, who understands both form and meaning. The rhythmical series in the works of Yali is dynamic and always musical. His compositional decisions are sharp unexpected as the click of photo-camera. But through these instant portraits of villages and fields, disturbingly and clearly, emerges a different portrait: the portrait of the human soul. What is the soul, whose is it? It is ours. Real and genuine.

Evgeni Yali is a Member of the Union of Artists of Russia. He is well-known artists. His paintings can be seen in the Tretyakov State Art Gallery, in the Saratov State Art Gallery named after A.N. Radischev, in the Saratov Oblast’Museum of Regional Studies, in the State museum of the writer K.A. Fedin, in the Museum of Local Studies located in Engels, in the Art Gallery in Volsk. In 1996 the All-Russia Academy of Art awarded Evgeni Yali with a Diploma for the best achievements in Fine Arts, in the Art of Criticism and Architecture. In April 1998 because of exemplary performance Evgeni Yali’s name was selected for biographical inclusion in the Eighth Edition of International Directory of Distinguished Leadership of the American Biographical Institute (North Carolina, USA). Presently Evgeni Yali lives and paints in the City of Saratov, Russia.

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Eugeni Yali’s art develops naturally as life itself. The ordinary plots and impression of their naivety are obviously deceptive. This artist penetrates into the very essence of the theme that he brings onto the canvas. Yali thinks in space categories. He focuses on the correlation and interaction of objects in nature and in his pictures, hence he detects the swiftest changes and slightest transfers of color and tone. His love is everywhere: he loves not only the subjects of his painting but even the very surface of the canvas, every single stroke and movement of his art brush. Everything is very truthful in his art works and you forget all about the way they are painted. Vulgar color or outward striking technique are absent in his painting The artist speaks to the world without any haste. This is a quiet and thoughtful conversation with Nature and with his own Conscience. We can find deep thinking about the essence and rash of life in the artist’s works. The painter helps his spectator to find a new and understand the things without which our further existence would be impossible on our charming planet.

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by Konstantin Aleksandrov

The Honored Artist of Russian Federation,

member of the Board of the Moscow Union of Artists

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EXHIBITIONS

Painting by Evgeni Yali in the exhibition hall of the Salon “Art en Capital” 2013, (Paris)

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Painting by Evgeni Yali in the exhibition hall of the Salon “Art en Capital” 2012, (Paris)